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Murray Smith’s attempt to provide a naturalized aesthetics of film in Film, Art, and The Third Culture is both decidedly ambitious and wisely orchestrated. It is ambitious because of the criticism that has been leveled against naturalized

In Film, Art, and the Third Culture , Murray Smith advocates a naturalized aesthetics of film that is a version of what he calls cooperative naturalism—a form of naturalism in which “the knowledge and methods of the natural sciences come to

(2017), advocated applying the converging methods of the humanities, behavioral sciences, and natural sciences to craft a “naturalized aesthetics” of film. Smith takes inspiration from work concerning consciousness that has benefited from a triangulation

– 525 . 10.1093/analys/anx087 Levinson , Jerrold . 2018 . “ Film, Art, and the Third Culture .” British Journal of Aesthetics . doi:10.1093/aesthj/ayx023 . Smith , Murray . 2017 . Film, Art, and the Third Culture: A Naturalized Aesthetics of Film

would draw upon and integrate the resources of disciplines spanning the natural and social sciences, the arts and the humanities. Where we do stand now in relation to Snow’s intervention? In Film, Art, and the Third Culture: A Naturalized Aesthetics of

convinced to expand their current practices (whatever those are) by adopting Smith’s naturalized aesthetics. In this article, I would like to examine the precise role given by Film, Art, and the Third Culture to scientific evidence in understanding film

culturally specific and which may avoid stylistic devices that mesh neatly with our natural capacities. In both his new book and elsewhere, Smith confronts this suspicion, and he is right to do so. If a naturalized aesthetics is going to explain our

called le naturel ( Elster 1986 ). In keeping with Smith’s call for a naturalized aesthetics, it may be appropriate here to observe that the thesis that there are unreflective aesthetic experiences is consistent with some work in contemporary psychology

In Film, Art, and the Third Culture (FATC) , Murray Smith articulates and defends an approach to aesthetics generally, and to film specifically, that exemplifies a naturalized aesthetics . Borrowing C. P. Snow’s (1956) famous terminology, Smith

theory. Yet, there has been some discussion of seeing-in in recent proposals regarding a naturalized aesthetics of film (e.g., M. Smith 2017 ) that also reference neuroscientific “embodied simulation” accounts of cinematic experience ( Gallese and Guerra